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Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/descriptivecatalOOamer 


r 


bm 

i 

American  Academy  of 

Ftne  Arts 


May  !8tt  l£}35 


LIBRARY 

NO. 

M.  Knoedler  &  Co. 

14  East  57th  St. 

New  York 

ACC. 

S^U. 

AMERICAN  ACADEMY  OF  FINE  ARTS, 


BARCLAY  STREET. 


DESCRIPTIVE  CATALOGUE 

OF  THE  COLLECTION  OF 

CELEBRATED  PAINTINGS, 


INCLUDING  W0RK3  OP  THE  FIRST  CLASS  BY  THE 


OLD  MASTERS 


OF  THE 

ITALIAN,  VENETIAN,  SPANISH,  FLEMISH,  DUTCH,  ENGLISH, 
AND  FRENCH  SCHOOLS, 


WHICH  WERE  OFFERED 

THE  LAST  SESSION  OF  CONGRESS, 

NOW  SEPARATELY  ON  SALE  (BY  EXHIBITION),  AND  TO  BE  SUBJECTED 
TO  PUBLIC  AND  POSITIVE  SALE  ON  THE  18TH  OF  MAY. 


DANBY’S  OPENING  OF  THE  SIXTH  SEAL, 

WILL  FORM  PART  OF  THE  EXHIBITION. 


ADMISSION  25  CENTS, - CATALOGUES  12£  CENTS. 

Open  from  8  in  the  morning,  and  well  lighted  in  the  Evening. 


NEW  YORK  : 

WILLIAM  VAN  NORDEN,  PRINT. 


1835. 


J.  W.  Brett  cannot  omit  this  opportunity  of  calling  the  particular  attention 
of  connoisseurs,  patrons  of  art  and  artists,  to  the  high  character  and  rare  merits 
of  this  collection.  It  will  be  found  to  contain  specimens  of  nearly  all  the 
cherished  masters,  and  to  exhibit  the  meridian  powers  of  their  authors  in  their 
respective  styles,  many  of  which  are  in  nearly  as  high  a  state  of  preservation  as 
when  taken  from  the  easel. 

The  Paintings  are  generally  in  antique  carved  frames  of  rare  value  and 
workmanship. 


INTRODUCTION. 


The  excellence  and  originality  of  the  paintings,  the  moderate 
sum  at  which  they  were  to  be  offered,  and  their  suitableness  for 
the  foundation  of  a  public  gallery,  were  the  great  inducements  for 
exporting  this  collection  to  the  United  States — encouraged  by  the 
belief  that  the  increasing  regard  for  the  Fine  Arts,  and  the  evidence 
of  the  advantage  and  value  of  such  a  collection  to  this  country, 
would  ensure  an  immediate  sale. 

The  value  of  the  paintings  In  this  collection,  at  a  low  estimate, 
would  be  sixty  thousand  dollars,  (setting  aside  the  late  great 
advance  in  prices  on  works  of  first  class  in  Europe,)  which  will 
become  permanently  more  and  more  valuable;  choice  works  of 
art  being  rarely  found  out  of  the  established  galleries  of  Europe, 
and  then  only  at  exorbitant  prices. 

To  a  lover  of  the  Fine  Arts,  desirous  of  possessing  an  unique 
gallery,  that  should  combine  choice  works  by  the  old  masters, 
or  to  academies  or  public  galleries,  this  opportunity  may  be 
said  to  be  without  precedence,  and  that  so  favorable  an  one  will 
again  present  itself  is  scarcely  possible. 


J.  W.  Brett  cannot  omit  this  opportunity  of  calling  the  particular  attentions 
of  connoisseurs,  patrons  of  art  and  artists,  to  the  high  character  and  rare  merits 
of  this  collection.  It  will  be  found  to  contain  specimens  of  nearly  all  the 
cherished  masters,  and  to  exhibit  the  meridian  powers  of  their  authors  in  their 
respective  styles,  many  of  which  are  in  nearly  as  high  a  state  of  preservation  as 
when  taken  from  the  easel. 

The  Paintings  are  generally  in  antique  carved  frames  of  rare  value  and 
workmanship. 


INTRODUCTION. 


The  excellence  and  originality  of  the  paintings,  the  moderate 
eum  at  which  they  were  to  be  offered,  and  their  suitableness  for 
the  foundation  of  a  public  gallery,  were  the  great  inducements  for 
exporting  this  collection  to  the  United  States — encouraged  by  the 
belief  that  the  increasing  regard  for  the  Fine  Arts,  and  the  evidence 
of  the  advantage  and  value  of  such  a  collection  to  this  country, 
would  ensure  an  immediate  sale. 

The  value  of  the  paintings  In  this  collection,  at  a  low  estimate, 
would  be  sixty  thousand  dollars,  (setting  aside  the  late  great 
advance  in  prices  on  works  of  first  class  in  Europe,)  which  will 
become  permanently  more  and  more  valuable;  choice  works  of 
art  being  rarely  found  out  of  the  established  galleries  of  Europe, 
and  then  only  at  exorbitant  prices. 

To  a  lover  of  the  Fine  Arts,  desirous  of  possessing  an  unique 
gallery,  that  should  combine  choice  works  by  the  old  masters, 
or  to  academies  or  public  galleries,  this  opportunity  may  be 
said  to  be  without  precedence,  and  that  so  favorable  an  one  will 
again  present  itself  is  scarcely  possible. 


PAINTINGS,  WORKS,  &c. 


No.  J. 

TWILIGHT. 

DOMENICHINO. 

Born  at  Bologna,  15S1 ;  died  1641 ;  aged  60. 

The  picture  before  us  is  a  wonderful  proof  of  this  master’^ 
power.  It  displays,  at  one  comprehensive  grasp,  a  combination 
of  the  sublime — sea  and  land,  flowing  rivers,  rocks,  mountains, 
pasture,  and  lofty  trees;  the  magnificent  and  the  pastoral  in  beau¬ 
tiful  unison ;  the  trees  breathe  the  breeze,  and  the  objects  seem  to 
live  in  a  second  creation.  Every  passage  in  this  specimen  of  the 
master  is  his  monogram  ;  it  is  full  of  deep  poetry  and  beauty,  and 
requires  repeated  and  abstracted  attention  to  feel  its  force. 

“  He  was  considered  the  most  distinguished  pupil  of  the  Carracci, 
and  even  preferred  by  Count  Algarroti  to  the  Carracci  themselves. 
Poussin  ranked  him  directly  next  to  Raphael.  He  shunned  all 
society,  that  he  might  better  devote  his  whole  time  to  the  art.” 

The  highest  praise  on  the  merits  of  this  picture,  is  the  circum¬ 
stance  that  it  was  purchased  by  Sir  Joshua  Reynolds  from  the 
Colonna  Palace,  and  formed  one  of  his  private  collection  till  his- 
death.  It  was  purchased  at  the  sale  of  his  effects. 

[On  canvass — 5  feet  2  inches  by  3  feet  9  inches.] 


No.  2. 

ST.  JEROME. 

BY  LEONARDI  DA  VINCI. 

Born  in  1452,  at  the  Castle  of  Vinci,  in  the  Vale  of  Arno ;  died  in  the  arms  of 
Francis  the  First,  1519  ;  aged  67. 

The  picture  before  us  is  a  rare  specimen,  and  in  wonderful 
preservation.  It  is  extraordinary  in  finish — every  hair  of  the  beard 
and  eye-brows  is  distinctly  marked,  and  almost  the  pores  of  the 
skin  ;  and  may  prove  to  us  the  truth  of  his  passing  four  years  in 
the  painting  of  the  portrait  of  Gioconda.  The  moral  of  the  picture 
is  striking  and  philosophical.  The  saint,  with  a  skull  at  his  feet, 
and  the  cardinal’s  cap,  the  insignia  of  pomp,  laid  aside,  is  reflecting 
on  the  vanity  of  worldly  honors;  the  left  hand  is  raised  in 


acknowledgment ;  while  the  right,  placed  on  the  breast,  allude  to 
a  vital  principle,  which  shall  live  beyond  the  wreck  of  mortality. 
The  Bible,  open,  the  character  of  the  varied  landscape  and  ruins, 
convey  much  reflection  to  the  mind  of  the  spectator.  “  He  was 
more  solicitous  to  improve  the  art  than  multiply  his  pictures.” 

He  had  two  styles :  the  one  abounded  in  shadow,  which  gives 
admirable  brilliancy  to  the  contrasting  lights  ;  the  other  was  more 
quiet,  and  managed  by  means  of  middle  tints.  In  each  style,  the 
grace  of  his  design,  the  expression  of  the  mental  affections,  and 
the  delicacy  of  his  pencil,  are  unrivalled  :  every  thing  is  lively : 
the  foreground,  the  landscape,  the  adventitious  ornaments,  flowers, 
and  architecture.” 

This  unquestionable  work  of  this  rare  master  was  purchased 
about  twenty-three  years  since  from  the  Aldobrandini  Palace,  by 
Lieut.  General  Maitland.  It  bears  date  1465,  with  L-da-Vinci’s 
monogram. 

“  Mengs  is  of  opinion  that  no  artist  could  surpass  Vinci  in  the 
grand  effect  of  his  chiaro-oscuro.  He  instructed  his  pupils  to  make 
as  cautious  use  light  as  of  a  gem,  and  was  the  first  who  succeeded 
in  uniting  those*“opposing  qualities,  minuteness  with  sublimity.  In 
subjects  which  he  undertook  fully  to  complete,  he  was  not  satisfied 
with  only  perfecting  the  heads,  counterfeiting  the  pores  of  the  skin, 
the  roots  of  the  hair,  and,  it  is  said,  even  the  beating  of  the  arteries, 
but  likewise  portrayed  each  separate  garment,  and  every  accessory, 
with  minuteness;  every  single  herb,  leaf,  or  tree,  was  a  portrait  of 
nature.  While  he  bestowed  his  attention  upon  the  minutiae,  lie,  at 
the  same  time,  observes  Mengs,  led  the  way  to  an  enlarged  and 
dignified  style  of  art;  he  labored  to  carry  things  to  its  greatest 
height.  It  was  his  custom  gradually  to  strengthen  his  shadows 
until  he  reached  the  highest  degree  ;  so,  also,  in  the  composition 
of  his  figures,  to  proceed  in  heightening  them,  until  he  had  obtained 
the  perfection  of  passion  and  motion.” 

“  Never  pleased  with  his  labors,  if  not  executed  as  perfectly  as 
he  had  conceived  them,  he  sometimes  devoted  so  long  a  period  as 
to  renew  the  example  of  the  ancient  who  employed  seven  years 
over  a  picture  ;  but,  as  there  was  no  limit  to  the  discovery  of  fresh 
beauties  in  that  work,  so,  in  the  opinion  of  Lomazzo,  it  happens 
with  the  perfection  of  Vinci’s  paintings,  including  even  those 
which  Pasari  and  others  allude  to,  as  left  imperfect.” 

“  The  portrait  before  alluded  to,  which  occupied  him  four  years 
in  painting,  and  then  considered  by  him  as  imperfect,  was  minutely 
examined  by  Mariette,  in  the  collection  of  the  King  of  France,  and 
declared  by  him  to  be  carried  to  so  high  a  degree  of  finish’ that 
nothing  could  surpass  it.”  His  works  are  extremely  rare,  and  of 
the  highest  value. 

It  is  to  be  lamented  that  the  color  of  his  pictures  is  generally 
unpleasing,  from  the  consequence  of  his  chemical  labor  to  preserve 
his  works  against  the  effects  of  time,  which  proved  abortive ;  but 


6 


they  are  held,  in  the  estimation  of  the  artist  and  connoisseur,  as 
corner  stones  by  one  of  the  greatest  founders  of  the  art. 

This  specimen  is  in  its  genuine  preserved  state. 

[On  thick  panel — 3  feet  6  inches  by  4  feet  3  inches.] 

No.  3. 

FAMILY  GROUP  OF  LORD  CLIVE. 

SIR  JOSHUA  REYNOLDS. 

A  beautiful  group,  characteristic  of  the  great  charm  of  portrait ; 
a  noble  simplicity  and  expression,  wherein  the  passing  soul  is 
made  visible.  The  colored  girl  is  inimitable  for  a  truth  of  character 
and  expression  only  to  be  surpassed  by  life. 

Sir  Thomas  Lawrence  was  of  opinion  that  this  picture  was 
originally  painted  cool  and  quiet  in  color ;  he  pronounced  it  one 
of  his  finest  specimens,  and  desired  to  become  its  possessor.  It 
came  from  the  collection  of  Lord  Morley. 

[On  canvass — 5  feet  8  inches  by  4  feet  7  inches.] 

The  two  works,  this  and  the  Bishop,  may  be  considered  to 
exhibit  the  great  characteristics  of  this  most  celebrated  artist 
of  modern  times,  and  would  alone  form  a  school  for  portrait 
painting. 

The  Clive  Family,  of  his  middle  and  careful  time,  is  not  to  be 
surpassed  for  fidelity  of  character  and  beauty  of  execution;  and 
the  simplicity  of  arrangement  is  so  true  to  nature,  that  we  forget 
the  portrait  in  the  almost  conscious  reality. 

The  bishop  is  of  his  late  time,  when,  in  the  full  exercise  of  his 
power,  a  few  bold  and  daring  touches  of  his  pencil  were  sufficient 
to  inspire  the  canvass  with  life,  and  give  to  color  a  soul  and  an 
identity. 


No.  4. 

Dr.  JOHN  THOMAS, 

Lord  Bishop  of  Rochester,  Dean  of  Westminster ,  and  tutor  to  the  late  King „ 

SIR  JOSHUA  REYNOLDS. 

This  portrait  of  Sir  Joshua’s  distinguished  friend  may  be  said' 
not  to  be  surpassed  even  by  his  celebrated  portrait  of  Lord' 
Heathfield  in  the  National  Gallery,  the  face  is  made  to  breathe 
with  individuality  and  truth  of  expression. 

It  has  been  repeatedly  engraved  by  S.  W.  Reynolds,  who.  pro¬ 
nounced  it  one  of  the  finest  of  Sir  Joshua’s  works. 

[On  canvass — 3  feet  4  inches  by  4  feet.] 


7 


No.  5. 

LOUIS  XIV.  AND  HUNTING  PARTY. 

VANDER  MEULEN. 

Bom  at  Brussels,  1634 ;  died  1690  ;  aged  56. 

“  He  was  invited  to  Paris,  aud  appointed  painter  to  Louis  XIV. 
with  a  pension  of  two  thousand  livres,  besides  being  paid  for  his 
work.  He  attended  that  enterprising  monarch  in  most  of  his 
expeditions  in  the  field,  and  designed  on  the  spot  the  sieges, 
attacks,  encampments,  and  marches  of  the  king’s  armies.” 

This  is  one  of  the  finest  specimens  of  the  master,  and  was  in 
all  probability  painted  expressly  for  Louis  XIV.  It  represents 
the  king,  with  his  favorite  attendants.  The  coloring  is  rich,  and 
the  execution  spirited  and  masterly. 

[On  canvass — 4  feet  by  3  feet  7  inches.] 

No.  6. 

THE  GARDEN  OF  LOVE. 

VANDYCKE. 

The  combination  and  beauty  of  color  in  this  painting,  place  it 
among  his  highest  works.  The  figures  are  beautifully  varied,  and 
the  subject  expressed  with  delicacy;  a  repetition  of  several  of  his 
beautiful  studies  may  be  recognised,  particularly  the  one  so  often 
painted  by  him  as  a  Magdalen. 

The  style  of  coloring  in  this  picture,  is  that  which  he  adopted 
after  studying  the  works  of  Correggio. 

[On  canvass — 4  feet  6  inches  by  3  feet  8  inches.] 

No.  7. 

THE  ENTOMBMENT  OF  OUR  SAVIOUR. 

TITIAN. 

Born  at  the  Castle  of  Cador  in  Friuli,  in  1480  ;  died  aged  99. 

It  combines  all  the  powerful  characteristics  of  this  great  master. 
The  dead  body  of  Christ  appeals  to  the  mind,  and  satisfies  in  points 
of  art,  first,  from  its  design  and  truth ;  and,  secondly,  from  its  finely 
managed  fore-shortening.  The  expression  of  the  heads  is  worthy 
the  scrutiny  of  the  amateur;  the  grandeur  and  depth  of  light  and 
shadow  invests  the  subject  with  a  solemn  harmony,  and  carries 
conviction  of  the  whole  being  a  master-piece. 

The  heads  representing  Joseph  of  Arimathea  and  Mary  Magdalen 
are  portraits  of  the  artist  and  his  daughter. 

This  surprising  artist,  honored  by  all  the  courts  of  Europe, 
vigorous  in  energy,  and  the  practice  of  his  pencil  to  the  last, 


8 


fell  a  victim  to  the  plague  when  within  a  year  of  completing  a 
century. 

[On  canvass — 3  feet  3  inches  by  4  feet  3  inches.] 


No.  8. 

THE  OPENING  OF  THE  SIXTH  SEAL. 

F.  DANBY,  A.R.A. 

Sixth  chapter  of  Revelation,  from  the  twelfth  to  the  seventeenth 
verses : — 

“  And  I  beheld  when  he  had  opened  the  sixth  seal,  and  lo,  there 
was  a  great  earthquake;  and  the  sun  became  black  as  sackcloth  of 
hair,  and  the  moon  became  as  blood : 

“  And  the  stars  of  heaven  fell  unto  the  earth,  even  as  a  fig-tree 
casteth  her  untimely  figs,  when  she  is  shaken  of  a  mighty  wind. 

“  And  the  heaven  departed  as  a  scroll  when  it  is  rolled  together ; 
and  every  mountain  and  island  were  moved  out  of  their  places. 

“  And  the  kings  of  the  earth,  and  the  great  men,  and  the  rich 
men,  and  the  chief  captains,  and  the  mighty  men,  and  every  bond- 
man,  and  every  free-man,  hid  themselves  in  the  dens  and  in  the 
rocks  of  the  mountains; 

“  And  said  to  the  mountains  and  rocks,  Fall  on  us,  and  hide  us 
from  the  face  of  him  that  sitteth  on  the  throne,  and  from  the  wrath 
of  the  Lamb:  ' 

“  For  the  great  day  of  his  wrath  is  come ;  and  who  shall  be 
able  to  stand  ?” 


No.  9. 

THE  CRUCIFIXION. 

i 

TINTORETTO. 

Born  at  Venice,  1512  ;  died  1594  ;  aged  82. 

A  truly  magnificent  picture  of  the  master.  While  contemplating 
this  work,  we  are  not  surprised  that  Annibal  Carracci  should  say 
he  equalled  Titian.  We  observe  that  his  composition  is  grand 
and  judicious;  his  pencil  energetic;  and  his  coloring  faultless. 
The  powerful  impression  conveyed  in  this  picture  is  its  best  eulogy. 

“He  was  a  disciple  of  Titian,  and  applied  to  the  study  of  Michael 
Angelo.  Possessed  of  a  fiery  daring,  and  disdaining  to  be  a  fol¬ 
lower  of  Titian,  he  burned  to  become  the  head  of  a  new  school, 
which  should  carry  his  manner  to  perfection,  adding  to  it  all  that 
was  yet  wanting;  a  rash  idea,  the  offspring  of  a  grand  and  fervid 
genius,  bold  as  it  was  great.  Constrained  by  circumstances  to 
confine  himself  to  an  incommodious  apartment,  he  ennobled  it  with 
specimens  of  his  early  studies.  Over  the  door  of  it  he  wrote, 

Michael  Angelo’s  design,  and  the  coloring  of  Titian.” 

[On  canvass — 3  feet  6  inches  by  4  feet  2  inches.] 


9 


No.  10. 

THE  AGONY  IN  THE  GARDEN. 

BARTOLOMEO  MURILLO. 

Born  at  Pilas,  near  Seville,  1613  ;  died  1685  ;  aged  72. 

A  sublime  and  touching  specimen  of  this  wonderful  artist. 
The  scene  is  a  solemn  and  poetic  landscape.  The  time,  night. 
The  Saviour  is  represented  kneeling,  with  that  holy  humility  of 
prayer  and  anguish  of  soul — “  Father,  if  it  be  possible,  let  this 
cup  pass  from  me.  Nevertheless,  not  my  will,  but  thine  be 
done.” 

It  is  a  chaste  and  faithful  representation  of  what  his  mind  con¬ 
ceived  ;  truth  and  simplicity  are  never  lost  sight  of,  and  we  might 
imagine  the  following  words  of  Isaiah  to  have  suggested  to  the 
painter  his  subject: — 

“  For  he  shall  grow  up  before  him  as  a  tender  plant,  and  as  a 
root  out  of  a  dry  ground :  he  hath  no  form  nor  comeliness ;  and 
when  we  shall  see  him,  there  is  no  beauty  that  we  should  desire 
him. 

“  He  is  despised  and  rejected  of  men ;  a  man  of  sorrows,  and 
acquainted  with  grief :  and  we  hid  as  it  were  our  faces  from  him ; 
he  was  despised  and  we  esteemed  him  not.” 

The  coloring  is  clear,  tender,  and  harmonious,  and  its  simple 
quiet  tones  suited  to  the  subject.  To  say  too  much  of  this  picture 
would  be  to  diminish  its  excellence,  and  leave  little  to  the  eye  of 
good  taste. 

[On  canvass — 5  feet  by  5  feet  8  1-2  inches.] 

No.  11. 

EVENING. 

GASPER  POUSSIN. 

Born  1600  ;  died  1663 ;  aged  63. 

Fresh,  dewy,  and  warm ;  rich  in  verdure ;  the  trees  glory  in 
beauty,  and  sport  in  sunny  vapor.  The  eye  roams  to  a  distance, 
where  the  sun  sheds  its  mellow  splendor  on  the  horizon,  covering 
the  mountain  tops  with  its  evening  gold;  the  mountain  rivulet 
bounds  from  rock  to  rock,  till  lost  in  beds  of  foliage,  displaying 
only  its  partial  silver  gleams.  The  scene  is  one  of  many  wind¬ 
ings,  gentle  slopes,  and  hills  on  hills,  until  lost  in  the  aerial  vapor 
of  a  sunny  sky. 

A  beautiful  realization  of  the  artist,  of  whom  it  is  said  “  he 
selected  the  most  enchanting  scenes,  and  the  most  beautiful  aspects 
of  nature — the  graceful  poplar,  the  spreading  plane-tree,  limpid 
2 


10 


fountains,  verdant  meads,  gently  undulating  hills,  and  villas  delight¬ 
fully  situated,  calculated  to  dispel  the  cares  of  state,  and  to  add  to 
the  delights  of  retirement.” 

“  Notwithstanding  the  extreme  passion  for  grace  and  beauty,  it 
is  the  opinion  of  many  that  there  is  not  a  greater  name  among 
landscape  painters.” 

[On  canvass — 5  feet  2  inches  by  3  feet  6  inches.] 


No.  12. 


DOGS  AND  GAME. 

FYT. 

Born  at  Antwerp,  about  the  year  1625. 

“  He  lived  some  time  at  Venice,  and  was  an  excellent  painter  of 
all  kinds  of  animals,  to  which  he  gave  a  natural,  bold,  and  elegant 
expression.  He  studied  nature  incessantly,  and  imitated  her  with 
the  utmost  truth  and  exactness.  His  coloring  is  strong,  and  his 
touch  firm,  with  a  wonderful  freedom  of  hand,  and  manner  of 
pencilling  peculiar  to  himself,  which  easily  distinguish  the  works 
of  Fyt  from  any  other  master.  His  general  subjects  were  live 
and  dead  game,  wild  boars,  hares,  dogs,  fruit,  flowers,  and  birds., 
particularly  partridges,  which  he  touched  with  surprising  truth, 
nature,  and  strength  ;  describing  the  hairs  of  his  animals  and  the 
plumage  of  his  fowl  with  wonderful  spirit,  exactness,  and  freedom 
of  pencil.” 

Some  of  his  pictures  passed  into  Spain,  from  which  place  the 
two  specimens  by  him  were  originally  brought.  They  are  ex¬ 
tremely  scarce  and  valuable,  as  are  also  his  etchings. 

[On  canvass — 4  feet  10  inches  by  3  feet  11  inches.] 


No.  13. 

SAMPSON  AND  DELILAH. 

RUBENS. 

Born  at  Cologne  1577 — died  1640. 

The  story  is  well  told — the  breathless  fear,  and  doubtful  expect¬ 
ation  of  the  lookers  on ;  the  trembling  barber  approaching  hia 
task  with  hair  on  end,  and  the  soldiers  not  daring  to  advance 
beyond  the  door — while  the  coloring  is  rich,  the  execution  vigor¬ 
ous,  and  the  fore-shortening  of  the  figure  of  Sampson  skilfully 
arranged. 

[On  canvass — 5  feet  8  inches  by  3  feet  10  inches.] 


11 


No.  14. 

FAMILY  OF  DE  WITT. 

REMBRANDT. 

Born  near  Leyden,  1606  ;  died  '1674 ;  aged  68. 

A  surprising  specimen  of  the  excellence  of  the  master,  and  the 
power  attainable  in  portraiture,  probably  unequalled  of  its  kind. 
It  possesses  all  his  gorgeous  depth,  and  splendor  of  color  ;  a  care 
of  execution  only  to  be  found  in  'his  best  works ;  a  sweetness  and 
simplicity  of  expression ;  and  an  admirable  truth  to  nature.  The 
objects  appear  to  live,  and  the  infantile  beauty  of  the  children 
cannot  be  surpassed.  Not  any  other  artist  could  have  treated  the 
subject  in  so  prepossessing  and  beautiful  a  manner;  even  Van- 
dycke  wants  that  charm  and  simplicity  which  makes  this  picture 
a  transcript  of  nature,  and,  for  harmony,  a  piece  of  glowing  gold. 

It  is  said  of  him,  that  his  objects  are  only  to  be  equalled  by 
nature ;  that  his  carnations  are  as  true,  as  fresh,  and  as  perfect,  as 
they  appear  in  Titian ;  and  in  chiaro-oscuro  his  power  is  beyond 
4hat  of  any  other  master. 

[On  canvass — 6  feet  9  inches  by  5  feet.] 

No.  15. 

LANDSCAPE  AND  CATTLE. 

BERGHEM. 

Born  at  Harlaem,  1624  ;  died  1683. 

A  repose  at  the  shade  of  evening ;  the  scene  is  Italian  and  re- 
plet^with  interest.  It  is  a  choice  work  of  his  inimitable  pencil; 
harmonious  in  color,  touched  with  a  correctness  and  breadth  of 
pencil ;  distinguishable  for  its  grandeur  of  light  and  shade,  and  a 
judicious  choice  of  nature. 

It  bears  name  and  date  1670,  and  it  was  purchased  from  a  gallery 
in  Holland,  by  De  Bleine ;  is  understood  to  have  belonged  to  Noel 
Desenfans. 

[On  canvass — 4  feet  10  inches  by  3  feet  10  inches.] 


No.  16. 

DOGS  AND  DEAD  GAME. 

FYT. 

The  companion  of  No.  12 — 4n  which,  while  the  Dog  may  be 
almost  heard  to  crack  the  bone  of  the  worried  hare,  in  this,  we 
can  imagine  the  whining  complaint  of  the  pent  dog  to  fill  the 
atmosphere ;  the  significant  regard  of  the  Spaniel  is  no  less 
striking,  and  the  dead  fowl  and  hare  touched  to  the  truth. 


i 


12 


No.  17. 

A  HOLY  FAMILY. 

SIR  ANTHONY  VANDYCKE. 

This  is  a  beautiful  specimen  of  the  chaste  pencil  of  the  master. 
The  painting  is  extremely  delicate;  the  attitudes  graceful  and 
natural.  Partaking  all  the  character  and  composition  of  Rubens, 
united  to  the  chaste  feeling  and  refinement  in  which  Vandycke  was 
so  inimitable.  The  humility  and  veneration  of  the  infant  St.  John 
leaning  on  a  lamb  is  one  of  those  brilliant  touches  of  genius  not  to 
be  surpassed. 

[On  canvass — 4  feet  10  inches  by  G  feet.] 

No.  18. 

JUDITH  WITH  THE  HEAD  OF  HOLOFERNES. 

GUIDO  REM. 

Bom  1574  ;  died  at  Bologna,  1642  ;  aged  68. 

This  figure  is  powerful  and  majestic,  expressive  of  conscious 
energy  and  greatness  of  sotal,  with  the  simple  grandeur  of  an 
antique  statue  ;  and  remarkable  for  that  elevation  of  human  nature 
for  which  this  artist  was  so  celebrated.  It  is  said  of  him  that  he 
drew  faces  of  Paradise,  and  that  the  beauty  of  his  heads  have 
never  been  surpassed. 

Apocrypha,  Judith  xiii. 

“  3.  And  Judith  was  left  alone  in  the  tent,  and  Holofernes  fcdng 
along  upon  his  bed,  for  he  was  filled  with  wine. 

“  4.  Then  Judith  standing  by  his  bed,  said  in  her  heart,  O  Lord 
God  of  all  power,  look  at  this  present  upon  the  work  of  mine 
hands,  for  the  exaltation  of  Jerusalem. 

“  5.  For  now  is  the  time  to  help  thine  inheritance,  and  to  exe¬ 
cute  mine  enterprises,  to  the  destruction  of  the  enemies  which  are 
risen  against  us. 

“  6.  Then  she  came  to  the  pillow  of  the  bed  which  was  at 
Holofernes’  head,  and  took  down  his  falchion  from  thence; 

“  7.  And  approached  to  his  bed,  and  took  hold  of  the  hair 
of  his  head,  and  said,  Strengthen  me,  0  Lord  God  of  Israel, 
this  day. 

“  8.  And  she  smote  twice  upon  his  neck  with  all  her  might, 
and  she  took  away  his  head  from  him.” 

This  picture  is  considered  one  of  Guido’s  finest  works.  It 
formerly  graced  the  walls  of  the  Colonna  Palace. 

[On  canvass — 4  feet  10  inches  by  7  feet.] 


13 


No.  19. 

ASCENSION  OF  THE  VIRGIN. 

GUIDO  RENI. 

Born  1574;  died  at  Bologna,  1642  ;  aged  68. 

Passing  by  the  rare  attributes  of  this  great  artist,  language  is 
too  poor  to  convey  an  idea  of  the  merit  ostensible  in  this  exquisite 
picture.  The  conception  of  the  subject  is  of  such  noble  import, 
and  the  execution  of  so  high  a  beauty,  that  the  eye  and  mind  are 
taken  captive  in  admiration.  The  group  is  balanced  in  atmosphere, 
(like  a  floating  cloud,)  while  the  transition  from  an  earthly  to  the 
glory  of  a  higher  region,  conveys  an  idea  of  the  artist’s  intention 
and  ability,  which  the  limits  of  praise  could  not  satisfy.  In  truth, 
for  composition,  fore-shortening,  and  harmony  of  color,  it  is  a 
wonder  in  art. 

[On  canvass — 3  feet  5  inches  by  3  feet  3  inches.] 

No.  20. 

PORT  AT  VENICE. 

CLAUDE  LORRAINE. 

Died  1682 ;  aged  82. 

The  excellence  of  this  picture,  its  vapory  light  and  modest 
truth,  although  void  of  many  of  the  catching  and  superlative 
attractions  of  this  master,  it  will  be  found  to  be  one  of  his  best 
works,  and  to  grow  in  favor  by  repeated  acquaintance.  The  date 
gives  it  to  him  at  the  age  of  30,  when  careful  of  fame ; — and  the 
introduction  of  his  own  portrait  may  be  considered  a  proof  of 
his  approbation.  The  figures  are^painted  with  a  care  wanting 
in  his  best  works ;  and  the  successful  imitation  of  morning  fresh¬ 
ness  may  be  said  to  be  a  reach  beyond  an  evening  glow ;  the  eye 
may  be  supposed  to  pause  while  measuring  the  extent  of  the 
prospect,  and  the  aerial  perspective  to  be  perfectly  illusive. 

[On  canvass — 4  feet  4  inches  by  2  feet  10  inches.] 

As  a  singular  circumstance — it  was  purchased  in  India  of  the 
Rajah  of  Bhurtpore,  and  brought  to  England  by  General  Moreland. 

No.  21. 

THE  WARNING,  OR  FLIGHT  INTO  EGYPT. 

ANNIBAL  CARRACCI. 

Born  at  Bologna  ;  died  1609  ;  aged  49. 

“  Behold,  the  angel  of  the  Lord  appeareth  to  Joseph  in  a  dream, 
saying,  Arise  and  take  the  young  child  and  his  mother,  and  flee 


14 


into  Egypt,  and  be  thou  there  until  I  bring  thee  word  ;  for  Herod 
will  seek  the  young  child  to  destroy  him. 

“  When  he  arose,  he  took  the  young  child  and  his  mother  by 
night,  and  departed  into  Egypt.” — Matthew  ii.  13,  14. 

This  picture  is  truly  astonishing  for  its  energy;  it  appears 
rather  moulded  into  being  by  a  daring  effort  of  imagination,  than 
produced  by  the  labor  or  care  of  painting.  The  head  of  the  infant 
Christ,  as  also  the  Angel  and  the  St.  Joseph,  are  three  fine  exam¬ 
ples  of  fore-shortening.  For  mastery  of  pencilling,  color,  power, 
and  chiaro-oscuro,  it  is  a  noble  example  of  the  equal  powers  of  this 
great  master. 

In  conception,  design,  and  execution,  it  is  of  the  grandest  gusto. 
As  an  evidence  of  its  excellence,  the  composition  was  copied  by 
Pesareso,  (see  musee  Napoleon,)  but  the  artist  failed  to  convey  its, 
simple  and  solemn  grandeur. 

[On  canvass — 7  feet  7  inches  by  5  feet  4  inches.] 

No.  22. 

A  FLOWER  PIECE. 

JOHN  VAN  HUYSUM. 

Born  at  Amsterdam,  1682  :  died  1749  ;  aged  67. 

A  charming  and  very  perfect  specimen,  painted  with  that  aston¬ 
ishing  truth  and  beauty  that,  in  this  branch  of  the  art,  has  defied 
competition  with  all  other  painters. 

“  His  reputation  rose  to  such  a  freight,  at  last,  that  he  fixed 
immoderate  prices  on  his  works  ;  so  that  none  but  princes,  or  those 
of  princely  fortunes,  could  pretend  to  become  purchasers. 

“  This  illustrious  painter  surpassed  all  who  have  ever  painted  in 
that  style ;  and  his  works  attract  as  much  surprise  by  their  finish¬ 
ing,  as  they  excite  admiration  by  their  truth. 

“  It  is  universally  agreed  that  he  has  excelled  all  who  have  ever 
painted  fruit  or  flowers  before  him  ;  nor  does  it  appear  that  any 
future  artist  will  become  his  competitor.” 

As  an  evidence  of  the  value  attached  to  this  Artist’s  works: 
This  picture  is  understood  to  have  cost  seven  hundred  pounds 
sterling,  not  many  years  since. 

[On  panel — 1  foot  10  inches  by  2  feet  6  inches.] 


No.  23. 

DANCE  OF  THE  SEASONS. 

NICOLO  POUSSIN. 

Bom  at  Andely,  in  Normandy,  1594  ;  died  1655  ;  aged  71. 

This  classic  and  charming  morceau  of  the  artist  is  a  rare  spe¬ 
cimen  of  beauty  in  design.  Spring,  Summer,  Autumn,  and  Winter, 


15 


are  represented  by  four  females  dancing,  expressive  of  the  seasons 
-as  they  glide  round  ;  while  Time  beguiles  the  hours  with  his  lyre, 
accompanied  by  an  infant,  who  exhibits  its  fleetness  by  an  hour¬ 
glass.  A  monument  of  Janus,  looking  back  on  the  past,  and  to 
the  future,  crowned  with  the  same  garland,  reminds  us  that  both 
youth  and  age  are  alike  subject  to  its  call ;  another  infant  is  in  the 
act  of  blowing  bubbles,  intimating  the  vanity  of  life ;  their  ascending 
one  after  another,  making  the  brilliant  show  of  a  moment,  and 
then  passing  away ;  the  hours,  gliding  through  the  clouds,  bestow 
their  gifts  of  plenty  on  the  earth,  unmindful  of  the  changes  of 
time.  (This  picture  is  beautifully  engraved  by  Raphael  Morghen.) 

[On  canvass — 3  feet  1  inch  by  2  feet  5  inches.] 

No.  24. 

A  HOLY  FAMILY. 

MATURINO. 

Born  in  Florence,  1490;  died  1527;  aged  37. 

The  sweet  simplicity  of  the  virgin  cannot  be  surpassed,  and  the 
innocence  of  the  infant  Saviour  and  St.  John  are  equally  touching. 

“  A  favorite  disciple  of  Raphael,  who  instructed  him  in  the 
principles  of  the  art,  and  employed  him  in  many  of  his  works  • 
remarkable  for  his  inseparable  attachment  to  Polidoro;  those  two 
friends  lived  and  associated  as  companions  in  study.  The  troubles 
that  involved  Rome  at  that  time  compelled  Maturino  to  fly  from  it, 
and  tore  him  away  from  his  beloved  companion,  Polidoro,  though 
Vasari  says  their  souls  were  so  united  by  a  sincere  friendship,  that 
they  were  determined  to  live  and  die  together.  He  was  carried  off 
by  the  plague,  at  the  age  of  thirty-seven.”  The  picture  before  us 
ds  a  charming  specimen ;  it  possesses  the  purity,  innocence,  and 
simplicity  of  Raphael,  with  a  greater  sweetness  of  color,  and  a 
surprising  power  of  light.  His  works  are  very  rare. 

This  picture  was  brought  from  Italy  by  Webb,  known  as  the 
♦celebrated  writer  on  the  Fine  Arts. 

[On  panel— 1  foot  8  inches  by  2  feet  1  1-2  inch.] 

No.  25. 

AN  ITALIAN  LANDSCAPE. 

VAN  LINT. 

This  specimen  is  sweet  and  clear;  admirable  in  its  details,  almost 
to  the  separate  leafing  of  the  trees.  The  whole  scene  sparkles 
with  animation  and  life,  and  each  object  finished  with  a  sweetness 
of  touch  rarely  attainable.  He  studied  all  the  beautiful  scenes  of 
nature  near  Rome,  and,  from  his  remarkable  application  to  the 
pencil,  was  named  II  Studio,  by  the  artists  of  Rome.  It  so  nearly 


16 


resembles  Claude,  that  it  was  originally  purchased,  and  retained 
for  many  years  in  tjie  collection  of  an  amateur  of  distinguished 
taste,  in  England,  for  a  specimen  of  that  master,  from  whose  hands 
it  passed  into  this  collection. 

His  pictures  are  so  scarce  as  to  be  seldom  found  in  collections. 

[On  canvass — 2  feet  6  inches  by  2  feet  2  inches.] 

No.  26. 

A  CALM. 

WILLIAM  VANDERVELDE. 

Born  1633  ;  died  1707  ;  aged  74. 

This  picture  is  an  evidence  of  its  name,  the  still  quiet  of  a 
bright  morning,  the  silent  bosom  of  the  deep,  the  numerous  vessels 
lying  becalmed,  make  it  a  picture  of  charming  truth  and  interest. 

“  A  native  of  Amsterdam,  where  he  passed  the  early  part  of  his 
life,  the  latter  of  which  was  spent  in  England,  though  the  exact 
time  of  his  arrival  is  not  known.  The  paintings  of  this  master 
have,  in  every  respect,  such  a  degree  of  perfection,  as  is  not  dis¬ 
coverable  in  any  other  artist.  Whether  we  consider  the  beauty  of 
his  design,  the  correctness  of  his  drawing,  the  graceful  forms  and 
positions  of  his  vessels,  the  elegance  of  disposition,  the  lightness  of 
his  clouds,  or  the  liveliness  of  his  coloring,  we  find  in  it  the  look 
of  genuine  nature.  All  is  clear,  bright,  and  sparkling,  and  full  of 
lively  truth.” 

This  picture  was  probably  painted  in  Holland  from  whence  it 
was  brought  by  Bonelli. 

[On  canvass — 3  feet  6  inches  by  2  feet  6  inches.] 


No.  27. 

A  BRISK  GALE. 

BACKHUYSEN. 

Born  1631 ;  died  1709. 

It  represents  an  approaching  storm  ;  the  dark  waves  dash  briskly 
on,  the  sails  are  reefed,  and  heavy  clouds  are  gathering  over  the 
sky ;  nature  seems  preparing  for  a  scene  of  gloomy  turbulence,, 
yet  a  bright  ray  of  hope  remains  in  the  gleam  of  the  distant 
horizon. 

This  eminent  master  was  a  native  of  Embden.  The  piece  before 
us  is  a  powerful  specimen  of  his  pencil.  The  chiaro-oscuro  is  grand 
and  effective.  It  was  his  custom,  whenever  he  could,  to  procure 
mariners  to  go  out  to  sea  in  a  storm,  in  order  to  store  his  mind 
with  grand  images,  and  to  delight  in  the  majesty  of  scenes  that 
would  fill  a  weak  heart  with  terror.  He  was  a  complete  master 


17 


of  effect,  and  united  the  charm  of  science  to  a  wonderful  beauty 
of  execution;  and  we  are  struck  with  admiration  at  the  truth  of 
the  perspective  in  the  distance  of  the  vessels. 

“  His  works  are  easily  distinguished,  by  the  observant  eye,  from 
the  freedom  and  neatness  of  touch  ;  from  the  clearness  and  natural 
agitation  or  quiescence  of  the  water ;  from  a  peculiar  tint  in  his 
clouds  and  skies ;  and  from  the  exact  proportion  of  his  ships,  and 
the  gracefulness  of  their  position.” 

“  No  painter  was  ever  more  honored  by  the  visits  of  kings  and 
princes  than  Backhuysen.  The  King  of  Prussia  was  one  of  the 
number,  and  the  Czar  Peter  the  Great  took  delight  in  seeing  him 
paint,  and  often  endeavored  to  sketch  vessels  which  he  had  de¬ 
signed.” 

[On  canvass — 4  feet  3  inches  by  3  feet.] 

No.  28. 

THE  COTTAGE  GRANDFATHER. 

RUSSELL,  R.  A. 

A  faithful  picture  of  the  rustic  simplicity  of  English  life.  The 
countenance  of  the  cottager  beams  with  health  and  contentment ; 
the  little  girl  runs  to  meet  his  embrace  with  spirits  light  as  air, 
and  a  blooming  face  that  would  vie  with  the  freshness  of  the 
mountain  daisy. 

“  The  touch  of  kindred,  too,  and  love  he  feels  ; 

The  modest  eye,  whose  beams  on  his  alone 
Ecstatic  shine  ;  the  little  strong  embrace 
Of  prattling  children,  twin’d  around  his  neck, 

And  emulous  to  please  him,  calling  forth 

The  fond  paternal  soul.”  Thomson. 

This  picture  has  all  the  pleasing  qualities  of  Gainsborough. 
Russell’s  works  are  highly  esteemed.  For  the  one  before  us  the 
artist  received  eighty  guineas  for  the  right  of  publishing,  and  few 
engravings  of  rustic  life  have  been  so  popular. 

[On  canvass — 6  feet  9  inches  by  4  feet  9  inches.] 


No.  29. 

PORTRAIT  OF  SIR  JOSHUA  REYNOLDS,  P.  R.  A. 

PAINTED  BY  HIMSELF. 

Born  at  Plymouth,  in  Devonshire,  July  16,  1723  ;  died  Feb.  23,  1792  ;  aged  69. 

This  portrait  is  valued  as  a  representation  of  so  talented  an 
individual.  As  a  work  of  art,  being  one  of  those  hasty  sketches 
painted  in  strong  driers,  it  has  suffered  by  time,  and  is  wanting  in 
the  beautiful  characteristics  of  his  excellence,  to  be  observed  in 
those  choice  performances  of  his  pencil,  Nos.  3  and  4. 

3 


18 


No.  30. 

GAMESTERS  DISPUTING  THE  DIE. 

GUISEPPE  CAVALIER  RECCO,  OF  THE  SCHOOL  OF  RIBERA. 

Born  at  Naples,  1634 ;  died  1695. 

Probably  a  study  for  a  fresco  of  the  soldiers  casting  lots  in  the 
crucifixion  ;  vigorous,  and  painted  with  great  solidity  and  decision. 
He  was  admired  for  his  beautiful  coloring,  which  he  acquired  in 
Lombardy.  He  resided  for  many  years  at  the  court  of  Spain. 

[On  canvass — 3  feet  5  inches  by  3  feet  5  inches.] 


No.  31. 

ST.  JOHN  PREACHING  IN  THE  WILDERNESS. 

LE  BRUN. 

Born  1619  ;  died  1690  ;  aged  7i. 

“  Styled  the  Guilio  Romano  of  France,  and  the  most  celebrated 
painter  of  his  time.  He  showed  abundance  of  grandeur  in  the 
disposition  of  his  subject;  in  all  his  compositions  he  had  a  par¬ 
ticular  attention  to  express  the  passions  of  the  soul  agreeably  to 
nature ;  and,  excepting  a  few  of  his  capital  performances,  there  is 
predominance  of  one  tint.  The  airs  of  his  heads  are  often  the 
same,  though  well  chosen,  graceful,  and  full  of  elegance.” 

The  specimen  before  us  is  finely  colored.  The  attitude  of  St. 
John  is  bold  and  expressive. 


No.  32. 

THE  ROYAL  FAMILY  OF  ENGLAND. 

BY  THE  LATE  RICHARD  LIVESAY  AND  BENJAMIN  WEST,  P.  R.  A. 

This  is  supposed  to  be  the  most  general  group  of  the  family 
ever  painted.  It  represents  the  introduction  of  the  Duchess  of 
York  to  the  Royal  Family.  King  George  III.,  Queen  Charlotte, 
and  George  IV.  occupy,  with  the  Duchess  of  York,  the  centre 
group.  Immediately  behind  George  III.  is  the  Princess  Royal ; 
next  in  succession,  Augusta,  Elizabeth,  Mary,  Sophia ;  and  Amelia, 
the  youngest,  in  front.  The  present  King,  William  IV.,  is  in 
conversation  with  the  Duke  of  York,  who  occupies  the  extreme 
right  of  the  spectator. 

Purchased  at  the  sale  of  the  late  Queen  Charlotte. 

[On  canvass — 4  feet  1  inch  by  3  feet  3  inches.] 


19 


No.  33. 

THE  DENIAL  OF  PETER. 

GHERARD  DE  LA  NOTTE. 

Born  at  Utrecht,  1592;  died  1660;  aged  68. 

Admirable  for  its  expression,  and  truth  to  nature :  “  Thou  also 
wast  with  him,”  is  the  momentary  accusation  of  the  female ;  and 
Peter,  before  resolved  even  unto  death,  denies  with  fear  and 
trembling. 

The  face  of  Peter  is  strong  in  expression,  and  the  hands,  checked 
in  the  moment  of  being  stretched  for  heat  over  the  burning  char¬ 
coal,  speaks  the  unexpected  surprise.  The  revengeful  eagerness 
of  the  foremost  soldier  is  equally  well  told,  by  the  breathless 
anticipation  with  which  he  waits  the  reply,  so  well  expressed  in 
the  strained  eye,  mouth,  and  nostrils,  and  the  pressing  forward  of 
the  body. 


No.  34. 

ST.  SEBASTIAN. 

MURILLO. 

Born  at  Seville,  1613;  died  1685. 

This  is  a  fine  specimen  of  this  master,  in  power  of  color,  drawing, 
and  expression.  The  rotundity  and  relief  of  the  figure  are  admi¬ 
rable,  the  carnations  very  pure,  and  the  landscape  powerfully  ex¬ 
pressed  and  boldly  painted. 

[On  canvass — 3  feet  6  inches  by  5  feet  2  inches.] 


No.  35. 

THE  CROWNING  OF  VENUS. 

LUCA  GIORDANO. 

The  Goddess  is  represented  reposing  on  a  sunny  cloud — young 
love  brings  an  offering  of  flowers,  and  a  Zephyr,  in  the  form  of  a 
cloud,  fans  the  atmosphere. 


No.  36. 

THE  DEATH  OF  HYPPOLITUS. 

G.  H.  HARLOW. 

Born  in  London,  1787  ;  died  1819. 

For  execution,  spirit,  and  splendor  of  color,  scarcely  to  be  sur¬ 
passed  by  Rubens. 


/ 


20 


This  distinguished  painter  of  the  celebrated  picture  of  the 
Kemble  Family,  for  which  the  present  proprietor  refuses  2,000 
guineas,  was  cut  off  at  the  early  age  of  thirty-two,  after  giving  full 
promise  of  becoming  the  greatest  genius  of  modern  art. 

[On  canvass — 2  feet  6  inches  by  1  foot  9  inches.] 

No.  37. 

SATYR  AND  FRUIT. 

JACQUES  JORDAENS. 

A  spirited  picture  of  this  master,  and  equal  in  color  to  Rubens’ ; 
forcibly  and  admirably  painted. 

[On  panel — 2  feet  6  inches  by  3  feet  3  inches.] 


No.  38. 

NOBLE  VIEW  OF  HASTINGS. 
(Calais  in  the  distance.) 


No.  39. 

GAINSBOROUGH. 

PAINTED  BY  HIMSELF. 

No.  40. 

A  CARVED  CUP. 

BY  BENVENUTO  CELLINI. 

Purchased  at  a  sale  of  the  effects  of  the  late  Doge  of  Venice. 

The  carving  of  the  lower  part  of  the  cup  is  an  entire  piece  of 
Ivory :  the  subject,  Battle  of  Alexander  with  the  Persians — the 
chasing  on  the  lid,  and  the  spirit,  grace,  and  execution  of  the  entire 
work,  places  it  almost  without  a  rival. 

No.  41. 

THE  MUSEE  NAPOLEON. 

Four  Volumes,  large  folio. 

Copy  in  perfect  preservation,  and  elegantly  half  bound. 


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